Welcome HOME Montreal!
After a long-term love affair with this beautiful and inspiring city it felt natural to
bring something new, different, and unexpected to our Montreal readers. - HOME
MTL. While this first issue may be bit "Franglish" there is no question that creativity
is global and a universal language we all understand.
It's seven minutes after midnight -- night owl? Yes. As I'm sitting here at my computer
writing this letter, the group Major Lazer is firing a song out of my speakers called
Get Free. I don't know what it is about this song but I seem to keep playing it over
and over - and those words “get free” seem to be very appropriate for this issue of
HOME.
When traveling I've always been the type to go off the beaten path. Organized tours,
obvious accommodations and expected locations have never really been my thing. I
tend to prefer random spontaneity and the unexpected. I'm beginning to realize this
is the same way I approach each issue of HOME; striving to bring our readers the
unexpected. Before starting this issue I thought “At this moment where we would go,
what we would see, who we would want to talk to, -what creative minds would we like
to explore and get to know better?”
Let's start in California for a cup of tea with Swatt Miers Architects in Silicon Valley.
Then let's jump on the red eye to the east coast and enjoy brunch in les Vitrines
Habitées with Daoust Lestage in Montreal. We could then take the next flight to Paris
to visit Yvonne Mispeleare's loft in Canal Saint-Martin in the 10th arrondissement,
before meeting up with Jaime Hayon for dinner at his latest restaurant project Le
Sergent Recruteur.
Since we're in France we might as well take the TGV down to the Côte d'Azur for
a picnic on the Mediterranean with photographer Richard Powers, and talk to him
about one of his recent books The Iconic Interior. Speaking of iconic, we could go
to Milan and sit down with Rosita Missoni who is celebrating 60 years of design.
Then, we could stop-over in Belgrade and take a breather at the new 5 Star, Square
Nine Hotel designed by Isay Weinfeld . Artist Ling Jian is currently showing at the
Schoeni Gallery in Hong Kong, so let's go and see his work and get his thoughts
on contemporary Chinese art and culture. And to finish our journey why don't we
head down to São Paulo and sip caipirinhas poolside with Isay Weinfeld himself at
the amazing Casa Grecia. Is this the amazing race? No. it's amazing creative talent,
intriguing people, and stunning locations. Montreal we look forward to getting to
know all of you better. This is just the beginning...
Thank you to all our friends around the globe who helped bring this issue together.
Get Free.

THE SWISS EXPRESSION
OF ARCHITECTURAL DESIGN.
Created with Swiss precision and high quality demands. Combined
with the love for detail, exceptional bathroom concepts come to life:
LAUFEN Palomba Collection 2012, design by L+R Palomba

like things that are timeless,” says Scott Gillen, taking a seat on
a comfy white couch in The Carbon House, his ninth designbuild home project. One of the hottest designer-builders
around, all his homes have sold in record time and at appropriately high
prices. Gillen instills the essence of Malibu into big, open living spaces
with spectacular views in home designs that are also easy, warm, and
comfortable to live in.
Gillen started out in the entertainment industry as a stunt driver and
rigger on TV shows like The Dukes of Hazzard and quickly shifted to directing
commercials – he’s done more than 100 of them to date. As is the case with
most creatives, Gillen moved around, working with a number of production
companies including Quentin Tarantino’s A Band Apart. He also credits his
first four years with Coppos Films and director Mark Coppos as an inspiring
experience that helped his design sense really flourish.
Designing homes started as a hobby, but his abilities didn’t go unnoticed
and now his projects (he designs everything from cabinets, to windows, doors,
and huge wooden and steel beams) are highly coveted by Hollywood’s elite.
He has a keen eye for finding diamonds in the rough. And this is in large part
why his hobby has turned into a very lucrative business.
A man of many talents, Gillen is gearing up to launch a furniture
venture to his Unvarnished enterprise this coming year.
Director/builder/creator, you are so multidimensional and have nailed it in every field you
have pursued. What’s the secret to your success?
Thank you. I appreciate it. I put a lot of passion, effort, heart and soul into my work.
Like your latest project, The Carbon House in Malibu.
I drove by this property countless times. It had burned out in the ’07 fire
so there wasn’t much there besides trash. One day, I finally walked up on
to the property and bought it. The day after we closed escrow, I cut down
these 180-foot eucalyptus trees, and there it was, this picture-perfect view of
Catalina. At that moment I knew it was a winner. But a lot of work had to
go into making it so. This was a very extensive build: 41 caissons, 650 yards
of concrete, 90 truckloads of dirt removal, repositioning the structure facing
the Pacific and cultivating the breezeway. ... I could go on all day about it.

34

35

"When I’m building a house, I build it with my sensibilities.
All my style and value is based on how I live my life,
how my family lives. We tend to love open-space living...
It’s a much more communal existence when you share a
kitchen, living room and dining room all in one area. It’s
more social, healthier and intimate, but only if it flows
properly. That’s a big part of it, bringing it all together
– the lines, wood, metal, windows – it’s all got to vibe
together in a way that feels good. I believe I hit a home
run when it becomes seamless."

What’s your main approach when starting a new house?
Same as when directing a car commercial. I ask myself how the viewer sees the
car the same as how I ask myself how the homeowner sees the home. Where does
the house sit? What is the position and projection of the home on the property?
Where does the sun rise? And where does the sun set? I position it so I have a day
full of sunshine, hence the amount of 10-foot windows we’re surrounded by now.
How would you define your aesthetic?
I don’t think I have an aesthetic. When I’m building a house, I build it with my
sensibilities. All my style and value is based on how I live my life, how my family
lives. We tend to love open-space living. Most people can’t live in open space.
They want to, but they don’t know how. It’s a much more communal existence
when you share a kitchen, living room and dining room all in one area. It’s more
social, healthier and intimate, but only if it flows properly. That’s a big part of
it, bringing it all together – the lines, wood, metal, windows – it’s all got to vibe
together in a way that feels good. I believe I hit a home run when it becomes
seamless. I don’t like any one thing to stand out.
Who has been your main sources for inspiration?
Frank Lloyd Wright was a genius. I do a lot of exposed beams within the
structure, and, as of late, I’m using steel in conjunction with the wood to give
it a more contemporary feel but with warmth. I also think Richard Neutra was
ahead of his time and other architects. I’m inspired by spaces that have an easy,
clean feel and are very livable. Simplicity is key.
What prompted you to dive into the design field?
When I was directing, I primarily did cars and a lot of performance work for
Jaguar, Mercedes and BMW. A lot of that work is design oriented, and a lot of
the stage work I did was on white sites, so there was a lot of negative space to fill.
Design was key to the big picture, creating the flow and establishing what needs
to go where to complement the focus of the frame.
And then you transferred those skills into building homes.
I stayed busy filming throughout the year, and it was great. But I had a
disagreement with one of my executive producers, broke my contract, and we
parted ways. By breaking my contract, I wasn’t allowed to work for a year, so I
decided to build myself a new home. It was great. It was no holds barred. And
there was no one to tell me what to do.
Your first house project was on Abbot Kinney. Would you tell us a little more about it?
It was the first live-work loft in Venice. Now, Abbot Kinney is known as the West
Coast Soho, but it wasn’t like that back then. It was an old, dilapidated house
built in 1928, a California bungalow. Over the next year, I gutted, redesigned
and built it. It was the ultimate bachelor pad. Then I met my wife. I put it on the
market, and it sold in the first day. It was great.

36

That is when you realized that the property market could have been a side career for you?
It was a side career. But after the year penalty, I went back to work. I did a couple
of TV shows: Build or Bust then Set Up, but I had so much fun with the Abbot
house I wanted to build another one, so yes, at that point it was a side project.
And all your other projects sold very quickly too...
Yes. All the houses sold in a few weeks from when they were listed. The Sandpiper,
Case Study No. 8, was the highest-grossing sale on Malibu Road per square
footage and it sold in 16 days. And the market was all the way back down when
we sold Cross Creek Lane. That one also sold in the first showing.
And you still haven’t sold this one on Carbon Canyon Road?
Well, we did come to market and got an offer very close to asking but I have
decided that this one fits me so well that I have taken it off market and will move
in.
Do you ever work on assignments?
Rarely. I have only designed and built houses for two other people, friends of mine.
I did them both as favors. But I learned that I don’t want to be responsible for other
people’s design and color schemes, no matter how good friends we may be. I can’t be
beholden to other people’s limitations. It stunts the creative process and the fun of it
all. I have been lucky to work for myself my whole adult life, and I’m keeping it that
way. I also feel that I've been extremely lucky with respect to being in the right place
at the right time and having produced the work that I've produced.
You said earlier you like to do things that are creative and fun. What’s next?
Furniture. I decided to build my own furniture for this home. The size of a room
dictates how it feels. Proportion is so important to a space, and when you miss
that it screams mistake. These rooms call for very large furnishings. I wasn’t
finding anything I liked that would fit just right. So, I went ahead and designed
and built what I wanted. It’s becoming a whole other animal.
I’m starting with a series of tables: dining, coffee, cube, console. Each piece
is oversized with hand-spun, polished stainless steel legs and hand-rubbed black
solid walnut. The next run will be all solid teak. My furniture fits well under the
Unvarnished brand because of the clean lines and high-quality raw materials I
include in everything I do.
Do you have a motto you live by?
I love to start with nothing and make something. But it’s got to have integrity.
The whole creative process, how something feels, that’s got to stay pure for me
at all costs. c

"Passion for
design has
always been
in my DNA. In
a sense, we
could say
it was born
with me. Now,
everything
inspires me:
Life, People,
Love, Travel."
CLOCKWISE FROM TOP LEFT: Designer duo Ludovica and
Roberto / Palomba wall hung toilet by Laufen / Palomba Collection
by Laufen / LAB 03 by KOS / Palomba Collection by Laufen

ludovica

& roberto

Great Design Comes In Pairs
Story By Lulu Berton

T

he Italian architects and designers Ludovica Serafini and Roberto
Palomba, have been creating modern, beautiful furniture and exquisitely
functional housewares since 1994, when they founded Palomba Serafini
Associati, to this day collaborating with the most prestigious design brands
around the world. “Our goal is to design free projects that are able to interact in
an evident and immediate way with people who choose them”— that’s the vision
behind their success, which is “measured by the amount of persons worldwide
who have chosen to share their lives intimately with our products.”
Thanks to their elegant and urban designs, combining functionality
and aesthetics, indoor and outdoor living, geometry and craftsmanship, the
duo has won several awards including The Compasso D’Oro 2011 for their
monolithic and compact Lab 03 (innovating the archetype of the washbasin
by integrating the towel rail handle to the free standing structure) and The
Green GOOD DESIGN Award for their sustainable Wall-Hung Toilet
designed for LAUFEN.
From the beauty and purity of the lines admired in their LAMA
dormeuse, a painted-steel structure designed for Zanotta to the emphasis
on the curvatures and the minimization of technical elements found in
their Elica Kitchen Hood CLIP — which received the Red Dot Honorable
Mention Product Design in 2012 — it is safe to say Palomba and Serafini are
definitely at the top of their game. The design team is currently developing
important residential architecture, contract, interior and yacht design projects
worldwide. HOME recently met with Roberto Palomba in Milan, Italy, where
the duo lives and works.
What was the inspiration behind your new collection for LAUFEN?
Nature was always behind the design of this collection. The inspiration comes
from the coves and cliffs, and by studying the action of the sea on the rocks.
Human beings are linked to primary shapes — there are forms that accompany
us during our life or just remind us of our childhood. We wanted the products
of this collection to deliver this message, through their soft touch and smooth
shapes. The inspiration for Menhir, the new free-standing washbasin, which is a
part of the Palomba Collection 2012 for LAUFEN, comes from a rock’s shape:
a single block that enhances its visual impact. The hollow of the bowl recalls the
rocks carved out of the water.
Does working with new material, such as the solid surface used for the Palomba tub, allow you
more design flexibility?
Each material brings a kind of a shape inside itself and even an inspiration for
a possible project. Sometimes new materials are comparable to “grassland to
colonize,” while the old ones, such as wood or stone, can be considered as fertile
fields already ploughed but which continue to grow creatively.
What made you decide to collaborate with LAUFEN?
Before our collaboration with LAUFEN began, we had already designed
some pieces for other bathroom companies. When I met with LAUFEN, I was
immediately struck by the way they approach projects: interpreting design and
always striving to find superior technical solutions while never backing away
from challenges. This makes my work as a designer easier and, of course, the
results are wonderfully fruitful!

What or who inspired you to become a designer? And what or who continues to inspire you today?
Passion for design has always been in my DNA. In a sense, we could say that it
was born with me. Now, everything inspires me: life, people, love, travel.
Is there a historical figure with whom you most identify?
If I have to choose, let me say Alexander the Great, for his curiosity and his will
to join and combine everything, like the East and the West. But of course, I am
a man of peace.
Your personal interpretation on the meaning of “a place called home?”
My dogs’ kennel.
The success of design teams usually depends on the “balance” they provide for each other. In what
way do you feel your partner balances you when it comes to your design approach?
We are a unique person divided into two bodies.
You live and work in Milan. What do you find fascinating about the city and its culture?
I’m fascinated with its continuous movement. It is the Italian city of fashion,
finance, economics and design — the place where business and creativity meet
and tell a new story every time.
Who are your heroes in real life?
All those people who give to others with anonymity and simplicity, such as blood
donors.
If you had a small budget and a big house, which accessory pieces would you buy first and why?
I would create an empty space in Technicolor. With a small budget, I would
prefer to use different and new colors for the walls and play on contrast with
other elements, such as the sheets. I’m an architect, not a decorator, so I think it
could be a good idea to create a right mood.
Please describe the interior décor you have chosen for your home.
White and natural tones are the fil rouge of the whole apartment. Than we added
contemporary design furniture with some colored carpets and complements.
An outstanding designer should always be?
Always on holiday!
What do you consider your greatest achievement?
All the research conducted side by side with LAUFEN. We managed to reach
important results with them together in regards to designing eco-friendly projects.
What profession rather than your own would you like to attempt?
The politician. Nowadays we need honest and creative people in power. Indeed,
I think that sooner or later I could also do it.
What do you like to do to unwind?
When I can, I just run away from Milan and go to the south in Italy, in Salento,
where we have a beautiful house.
What are the most distinctive traits about your personality?
I’m curious, eclectic and changeable. I change continuously.
What do you see as the lifestyle trend of the future?
Respect nature, otherwise there will be no lifestyle trends to invent or create
anymore.
Your motto, if you have one.
Express yourself, not repress yourself. c

y home has become an oasis of colors and moods, evoking
emotions and curiosity,” says a very welcoming Rosita Missoni
as she reflects on her family’s main residence in Sumirago,
Italy. “This place is always open to encounters of people just passing through, the
family’s comings and goings and for when friends and acquaintances unexpectedly
drop in,” she adds with a bright open smile. Sitting at the foot of the Lombard
Alps, the magnificent property, built by architect Enrico Buzzi, is also the elective
backdrop of the Missoni business, a status symbol of Italian design, which in
2013 will be celebrating its 60th anniversary. Since the brand’s inception in the
early ’50s, Missoni and her husband Ottavio (Tai), Italy’s most prominent fashion
couple, began creating their unparalleled knitwear, fusing art and fashion “with
museum pieces that you can wear” and introducing the world to a new way of
dressing and living. Their mix-and- match style, which Americans define as “put
together” is a unique patchwork of geometric and colored jacquards, zigzags and
stripes morphing into an extraordinary kaleidoscopic effect, where colors blend
into tones and imagination never underestimates simplicity. Missoni hasn’t stopped
at clothing and fashion accessories. “I enjoy creating a habitat that is ordered yet
informal, versatile and welcoming,” admits a self-satisfied Ms. Missoni, who in the
mid-’90s launched Missoni Home, transferring the brand’s fashion iconography to
the world of design. “I always loved home décor, and I thought that expanding my
creativity into home furnishing was the most natural thing to do,” she recalls.
Missoni Home’s latest collection, which was presented at Maison et Objet
in Paris and Salone del Mobile in Milano, was received with universal acclaim; a
collection of vivid pieces ranging from sofas and relaxed form ottomans to pillows
and luxurious blankets and throws. Missoni explains, “The new and fascinating
story interweaves nature and fantasy, passion and geometry, a fusion of inspirations
and techniques: linear forms, sculptural volumes and great eclecticism in the use
of the pictorial color palette. The color tones are vibrantly intense and rich in
high notes. Polychromatic scales nuance into faded effects, they emerge from the
shadows to snake into spatial flashes.”
The Missoni brand and legacy has proved that the art form of great design can
transcend market boundaries and be a success in any business sector. Over the years,
the brand has expanded from fashion to furnishing and modern day living. After
Missoni Home was born, which Missoni happily admits, “is now a very consistent
collection,” a collaboration with architect Matteo Thun in 2006 gave birth to Hotel
Missoni, which became another important part of the brand’s evolution.
In 2013 you will be celebrating 60 years in the fashion business. What do you see as your greatest
achievement?
To have created a style with our fashion and a lifestyle with our home collection.
How would you define Missoni’s style?
Dynamic, colorful, geometrical and playful.
The use of color has always been a very distinctive mark of the Missoni brand. What drew you
and Tai into it?
It was instinctive from the very beginning. Tai could have become an artist, as
his sense of color is extraordinary. On the other end, I love gardens and flowers.
During the years though, Tai has become a huge gardener, too. He started with a
small terrace in our previous home, but now that we have a huge garden, he has
definitely improved his abilities.
You met your husband in London in the late ’40s, and since then you have started a very successful
relationship and business collaboration. Was it love at first sight?
Yes. Tai was running as a finalist in the Olympic Games in the 400-meter hurdles.
When I first met him, I kept my fingers crossed. He was a very handsome man, but
what I really loved was his sense of humor and his captivating philosophy of life.
What would you say has been the secret to your long-lasting relationship in romance and business?
Working together for so many years has certainly created a strong bond between
the two of us. I also believe that the best choice in our life has been to decide to

42

establish our headquarters here in Sumirago. I consider a privilege the possibility
to live and work in a place where every day you can look outside the window and
see something beautiful. All our children and grand children live here. It’s not far
from Milan and you can still enjoy the city life.
How has your brand evolved into so many fields, most predominantly Missoni Home?
We started Missoni Home very early, at the end of the ’70s because Bloomingdale’s
introduced us to Fieldcrest, for whom we made four bed and bath collections.
My family, at that point, added bedspreads, rugs and upholstery fabrics to their
production, and so they suggested starting our own home brand made in Italy. So
we did, and at the end of the ’80s we launched a Missoni collection of rugs and
upholstery fabrics, although it was not under my direction.
What prompted you to take over the direction of Missoni Home?
It was in ’97, when my daughter Angela decided to work on our main line. I felt
a great relief, as I needed to step back from the fashion world and its craziness.
I knew that the home was becoming fashionable and I must say, in a couple of
years, I realized I had a very good idea.
Which vision inspired your Home collection?
The pleasure of being surrounded by excitement. My house is a nest where I bring
back all the things I love. It’s structured but very informal, appealing but simple.
It’s a game which I love to play. Very often, I build from the fashion collection and
transform it.
Could you please describe the philosophy behind Hotel Missoni?
When Italian architect Matteo Tun approached us with the idea, I instantly
thought it would have been a very good window for the Home collection and also
a field of research.
What are the main design elements you have chosen to define your private residence in Italy?
I am fascinated by design and comfort, and I like simplicity in shape. There is
one particular chair I chose for my home, the Wishbone chair by Hans Wegner.
I decided to have it also in the hotels because it’s comfortable and easy to move. I
hate heavy furniture. I love objects, and my house is full of them.
What is your most treasured possession?
A series of huge glass beads, which I bought in London six years ago. They are
from Seguso, a factory in Venice, and made in the ’60s. I also used to collect
handkerchief porcelain vases, knotted ones, but now I am tired of them. In my
house in Milan I have a huge red chandelier made by Gio Ponti in the ’50s that
looks like a big octopus. We have so many different homes, though….
What other homes?
The big house, our main residence is in Sumirago. The house in Milan we mainly
use to throw parties after our fashion shows. I have a house in Paris, on Rue du
Bac, overlooking the Tour Eiffel, and one in Sardinia, our summer house in
Puntaldia, on a long beach with pink sand and turquoise sea. Our house in Venice
overlooks the bridge on the side of the Palazzo Ducale, and in the lagoon, we also
have a flat boat where we throw very cool parties with up to 150 people.
How large is your art collection and which pieces are the most important to you?
I wouldn’t personally call it an art collection but a very intimate ensemble of
pieces. We have a beautiful painting called The Birth of Venus by Savinio, De
Chirico’s brother. Tai bought it 25 years ago. He came home with it and said to
me, “This is your Christmas present for me.” For his 80th birthday, I give him
another painting from Tancredi because it reminded me of how Tai designs his
projects on knitted fabrics.
Do you have a motto you live by?
It’s never too late. c

43

cine

The Captivating Urban

space

Environments of Daoust Lestage

rEnÉe daoust and rÉal lestage
have truly found the “thread” that
enriches the lives of Urbanites,
Celbrating the relationship
between people and their city.
story by kevin chan

T

Throughout the world, cities have become the predominant setting
where people live and carry out the daily rituals that define their
lifestyle. The urban environment has long been valued for its capacity
to not only provide a strong propensity for social interaction but also access to
valued resources such as universities and public gathering spaces. Coming from
Los Angeles, I have mostly experienced the urban environment looking through
the windshield of a car. However, since moving to Montréal, converting to
active transportation has greatly improved my awareness of urban spaces. Since
Montréal’s urban infrastructure and cultural attitude afford the opportunity for
bicycling and walking, and moving through the city at a slower pace has allowed
me to appreciate this divers metropolis in ways previously unimaginable.
One aspect of urban design that enhances the experience of a city is the
connectivity of spaces between districts, streets and even sidewalks. Places
such as Place des Festivals in the Quartier des Spectacles have highlighted my
experience of Montréal because of the way the project unifies the urban fabric
through the provision of public space.
The visionaires behind the design and development of spaces such as
the Vitrines Habitées at Place des Festivals, are Daoust Lestage - located in
Montreal. Daoust Lestage has contributed to the wealth of high-quality urban
spaces in Montréal since 1988. Daoust Lestage Inc. was founded in 1988 to

46

realize their dream of designing city spaces and architectural pieces with the
comprehenseive approach that they currently employ. In an interview with
HOME, Daoust Lestage gave insight to their firms approach to urban design,
discussing how investment int the public realm ultimately leads to raising the
socioeconomic value of the urban environment - producing a more inclusive
and vibrant city.
During the economic downturn in the 1990’s, Daoust Lestage saw an
opportunity to refine the firm's urban design methodology in an era most would
deem difficult to find business. Although the market for urban development
was waning, the industrious nature of the partners did not allow them to stand
idly, “we believed that we needed to do something,” said Daoust. The firm’s
method was to design from “the city to the object”. This ideology allows their
projects to be understood from various scales and ultimately establishes a
thoughtful relationship between people and the public realm. Daoust Lestage
postulated their firms methodology akin to "a thread", which connects the
various disciplines vested in creating successful urban environments under a
contiguous workflow.
Acknowledging the importance of public space and its impact on property
value, Daoust Lestage has played an intregal part in developing many urban
environments, one of which being the socioeconomic capital of the area now

known as the Quartier International. Through creating public spaces to trigger
private developments, the firm has been able to give primacy to the public realm and
therefore offer places tailored for attracting Montrealers. Urban parks such as Square
Victoria and Place Jean-Paul-Riopelle provide much needed gathering spaces for
people to engage the urban environment. Eventually, as these projects settled into
the urban fabric of Montreal and the $90 million operation was complete, real
estate investment in the area increased approximately 20 times the cost of the project
itself. From the success of the Quartier International, Daoust Lestage continued its
influence on Montreal’s public realm with projects such Vitrines Habitées and Place
des Festivals, which won the 2012 Governor General’s Medal in architecture and
urban design.
Part of the Place des Arts and the Quartier des Spectacles, Place des Festivals
and Vitrines Habitées have become iconic landmarks in Montreal’s central city
neighborhood of Ville Marie. Providing a high-profile space capable of facilitating
events with crowds as large as 25,000 people as well as an everyday public gathering
place, Place des Festivals and Vitrines Habitées are the epicenter of activity during
Montreal’s festival season in the summer. Place des Festivals — flanked by a duo
of elongated, rectangular restaurants known as the Vitrines Habitées — is an
equitably designed urban armature that has, again, triggered private investment
through quality public infrastructure. Daoust Lestage is continuing to successfully
intervene in this part of the city, currently in its fourth phase of development, by
creating an urban ice rink and pavilion that will surely cater to the seasonal interests
of Montrealers.
There is no question that Daoust Lestage has become one of Montreal’s
leading stewards of the urban environment. The firm operates within the complex
union of architecture, landscape architecture, urban planning and other domains
of knowledge commonly considered the framework for urban design. With a team
of talented creative professionals from various backgrounds, the collection of talent
is able to engage in a multitude of discussions regarding the diverse issues posed by
urban design projects. Currently Daoust Lestage is spreading its influence across
provinces and cities including Toronto, Calgary, Montreal and Quebec City. Projects
involving York University, the George Brown School of Business and the PanAm
Village are spaces and architectural pieces to look forward to in the near future.
Daoust Lestage’s approach of designing from the city to the object has proved
to be an effective method of creating robust urban environments — they have truly
found the “thread” that enriches the lives of urbanites, celebrating the relationship
between people and their city. c

48

Architect Isay Weinfeld’s Fine Mix in São Paulo

CASA

story by Mirjana milicevic
photography by fernando guerra

GRECIA

"Now, if you are walking, with the right
person, on a sunny day, listening to Chris
MOntez ... all of these together, mixed
this way ... this might be happiness. Yet,
if you prefer to ride your bike in the
rain, with the wrong person, listening to
Arvo Part in SÃo Paulo that also might be
happiness. In Life, each of us mixes these
ingredients as we please. That's where the
fun lies." (Fine Mix, 2003)

W

hen speaking about contemporary Brazilian architecture, most
conversations inevitably lead to one man — Isay Weinfeld. I think
it’s safe to go even further — out of Brazil and onto the world map,
where, in the big picture of various international architectural works, Weinfeld’s
work holds its ground. With confidence and calmness, he pulls from himself and
lights up his designs.
Weinfeld was born in 1952 in São Paulo, where he graduated from
Mackenzie’s School of Architecture in 1975 and later became a professor there
teaching the theory of architecture. He was also tenured professor at Penteados
School of Communication, teaching kinetic expression. His career as an
architect, teacher and moviemaker is closely related to the city of São Paulo.
Most of his projects are realized there — both residential and commercial. He
often held exhibitions and lectures focusing on the city’s architectural and urbanplanning problems, which were the focus of several of Weinfeld’s essays. His art
direction and theatrical scenery has been displayed in Sao Paolo theaters, and his
films are made there as well. One of them, 1988’s Fire and Passion, showcases a lot
of São Paulo’s architecture, once again highlighting the important role this city
has played in Weinfeld’s professional and personal life.
“São Paulo is a city you cross. If you are by car, you’ll probably have your
windows closed. Keep them rolled up and try to see the city or, in any case,
what’s left of it, while listening to a soundtrack. ... Yet, if you really want to feel
strong thrills, pump up the sound of your car stereo to full blast and play 4’33,
by John Cage. Open all windows, step down on the accelerator, take a good look
at our dear São Paulo and let in the fresh air and the morning sun. ...” (Musical
Drive, 2007)
Weinfeld’s architectural achievements have been rewarded numerous times
by Institute of Architects of Brazil. He also gained the recognition of other
organizations in country and abroad for his architecture, interior and furniture
design, theatrical scenery and cinematography. His bookstore — Livraria Da
Vila — won the Yellow Pencil Prize at the D&AD Awards in London in 2008
and the Spark Award in San Francisco the same year. Isay Weinfeld Architecture
has been twice the Overall Winner of the MIPIM Architectural Review Future
Project Award in 2009 for its apartment block, 360° Building, and this year for the
Oka Building. Additional awards include the 2010 Numero Bar in International
Design Award, and in 2011 the Good Design Awards in Tokyo for the Terra
Nova House.
What is it about Isay Weinfeld Architecture that makes it so special? One
could say that no matter the purpose, different program, client or the plot scale,
there is some link that brings the puzzle together. Going through all those beautiful
pictures of the homes, hotels, bars and restaurants, shops and bookstores, one
could not but notice his delicately designed atmospheres and carefully composed
scenery. Rather than shock and overwhelm — Weinfeld’s architecture embraces
and invites. When it seems powerful, strong and exact, it also conveys warmth at
the same time. It does not compete with the human size.
* * * *
Casa Grecia is a single-family home located in a residential area of São
Paulo. The house was built in 2009 and was completed two years after its
commencement. Set on a 1.2-acre corner plot, it fulfills an extensive design
program, realized in three levels with 20,450 square feet of living area. The

52

upper floor consists of four cubes toward the rear of the property, consecutively
distributed, which open to a huge garden from which you can approach the
house through wide wooden decks. Each cube is individually identified and
defines a certain area in the house. The living quarters consist of a four-bedroom
suite for the family, and full living quarters for the house staff are encompassed
in a pebble-blasted concrete-clad cube that hovers over the long swimming pool
on one side. A home office is encapsulated in an exposed concrete module that
merges fluidly with the wooden exterior siding of the entertainment area, which
includes a TV room and indoor/outdoor lounge. Finally, everything comes
together with another cube covered with sandblasted concrete plaques, where
the dining room and service area located. The lower level was designed as the
children’s recreation room, large fitness room, music studio and a large linear
garage exposing an extensive antique car collection, ending with access to the
basement level for the sauna.
Often being described as a perfect mix of nature and architecture —
which also can be seen in some other houses Weinfeld designed, Grecia became
a representation of the modern “garden villa,” or as some call it “tropical
modernism.” And indeed, the way the natural elements grow up and merge
with Weinfeld’s simple shapes and built structure, it is as if Casa Grecia is a
natural extension of the huge garden that surrounds it — it is a recognizable Isay
Weinfeld design. Not wanting to remove old existing trees, Weinfeld made patios
and gardens around them, incorporating them in the house envelope, providing
a natural skylight, ventilation and temperature regulation, maintaining a constant
connection with nature while one walks throughout the home. Open spaces
glow with natural light that enters from frameless glass walls bordering a wide
garden and atrium. Small palm trees and shrubbery reach for the rectangular
skylights above. Elegant, carefully chosen interior finishes with accents of wood,
are combined with chic timeless furniture pieces, leading to small intimate areas
bringing the whole picture together.
And — it’s amazing.
What does Grecia mean?
It means Greece, but it is really the name of the street where the house is located.
It’s been said that you are Brazil’s best-known architect after Oscar Niemeyer. You
have the luxury of turning away as many projects as you undertake, and you sign on
only after listening to prospective clients describe how they wish to live. You’ve said
these prefatory encounters can resemble therapy, or courtship. “It’s like a marriage ...
we have to be a match.” So, then how did the Casa Grecia project begin? What was
your design approach for this home, your vision, the end goal?
The goal is always be happy and make others happy. And that’s why I’m always
very careful taking commissions. If I feel, for whatever reason, this won’t be
possible then I won’t take it.
How was the “match” with the client on Casa Grecia?
In the case of Grecia house, I had already worked for the client on many other
occasions — including the flat he used to live in before moving to the house and
some commercial venues — so I knew we were a good match.
Did the client give any design constraints or were you given carte blanche?
I don’t really like being given carte blanche, but I have to have the client’s trust.
Casa Grecia commenced in 2007. What do you remember about that time in your
life? Music, movies, art, state of mind — does anything in particular stand out?
I can barely remember what I had for lunch yesterday much less what I listened to
or watched in 2007. But whatever it was certainly influenced me in that project.
A 1.2-acre single family home is no doubt a luxury. What is the main difference in
designing such a large home compared to homes that are made in smaller scales?
Designing a large house in a large plot is more difficult because you have many
more choices doing it right.

53

Open spaces glow with
natural light that enters
from
frameless
glass
walls bordering a wide
garden and atrium.

“São Paulo is a city you cross. If you are by car, you’ll
probably have your windows closed. Keep them
rolled up and try to see the city or, in any case,
what’s left of it, while listening to a soundtrack...
Yet, if you really want to feel strong thrills, pump
up the sound of your car stereo to full blast and
play 4’33, by John Cage. Open all windows, step down
on the accelerator, take a good look at our dear
São Paulo and let in the fresh air and the morning
sun.” (Musical Drive, 2007)

EAST VIEW
0

5m

LONGITUDINAL SECTION
0

5m

Do you have your favorite place in this house?
The movie room.
The design of this house incorporates many natural elements. How did that come to be?
That was the idea starting the project: preserving the existing trees and creating
patios around them so they could be spotted from different places and views in the
house.
I keep thinking of Fine Mix — an essay you wrote in 2003. It is very inspiring, very
poetical and true. What was the “fine mix” of Casa Grecia?
I think the setting of the house on the terrain was crucial for the sensations we
wanted to rouse.
SOUTH VIEW | SECTION

0

5m

What is tropical modernism? Do you relate to this architectural label?
If there is one thing that does not interest me at all, it is style, or label, or trend. I don’t
feel I belong to any architectural school.
1

Some people say their work is their life. Do you share the same view? How do you stay
fresh as an architect? What fuels your creativity and keeps you going from one project to
another?
My work is my greatest pleasure. I am extremely curious in regards to infinite
subjects. I think that is what makes me fresh and gives me the will to experiment, to
not repeat a successful formula, to dare, to risk and to go wrong. That is what boosts
my willingness to carry on.
Do you relate to some contemporary architects’ or artists’ work? Is there anyone in
particular whose work you admire — past or present?
I love the works of Mira Schendel, Ingmar Bergman, Jacques Tati, Radiohead,
Gavin Bryars and Carrilho da Graça.
How would you describe the home of Isay Weinfeld? Is it similar in any way to the homes
you design for your clients, friends, family?
I once said I could never live in any of the houses I designed because they have
nothing to do with me. My house is the collection of everything that crossed in front
of me and, for whatever reason, stayed.
What is it like to live in São Paulo these days? Where do you like to spend your time?
What architectural mix does São Paulo offer now, and how has it changed through the
years in your eyes?
São Paulo gave me everything. It is the mother to all architectures. It is generous
and allows for all. In the last 20 years, it has changed a lot. It is a vibrant, energetic,
lysergic city. And ugly.
At the present moment of your life, what is your “fine mix?"
Keep on going after things that will make me mad. c
2

house
The Iconic Photography of Richard Powers
story BY jeremy garrett

I

With three new books currently
being released simultaneously,
photographer richard powers sits
down with HOME and defines iconic

t’s been said that a picture is worth a thousand words. If that’s the
case, then photographer Richard Powers’ visual vocabulary puts
him in a class shared by very few individuals. From the pages of
Elle Decoration UK, World of Interiors, Vogue Living, Architectural Digests for
Spain, France, Germany, Russia, China and Italy, Dwell, Elle Decor Italia,
Elle Decor U.S., and Wallpaper* to the multiple bound editions of Thames
& Hudson and Terra, Powers is a true visual nomad, jet-setting the globe
to harvest “eye candy” for us all to taste. The word “essence” comes to my
mind as I remember my introduction to and discovery of Powers’ work.
The day was gray, the mist was thick, and the clouds above were so anxious
to free themselves from their water-filled bellies, as if to remind the city of
Montreal that summer was leaving — if not already gone. As I walked down
the busy city street, I glanced at the display window of a local bookstore and
something caught my eye: Summertime, the magazine cover read, and on it
was a 1950s gem of a house in glass and wood designed by Craig Ellwood.
The pool, the blue skies and the way the palm trees leaned ever so gently
above the house — I could smell it. I could smell that salty Pacific air as it
breezed gently by me while the summer sun warmed my skin. I was there!
Or I wasn’t … or was I? I would like to believe I was. The essence that
was captured in Powers’ photo gave me just the little escape I needed that
day. If I couldn’t fly there instantly, I figured the next best thing would be
to purchase the magazine and bring Powers’ summertime home with me.
And I did just that.
The first time I contacted Powers, he was relaxing in the Mediterranean
on the Côte d’Azur (sounds so chic doesn’t it?). “Sorry I missed your call,
Jeremy. I was just cooling off in the water. ... We’re having an afternoon picnic
on the beach,” he said in his assured British accent. “Where are you?” I asked.
“Antibes,” he responded. Antibes — good for you, I thought to myself. There
is a noticeable understated confidence in Powers’ voice and demeanor. It is
evident that he has found his flow, the sweet spot — the balance between, life,
love, work, passion and enjoying it all. Youth is present in his voice. It may be
due to the constant diversity that he is exposed to in his line of work or the fact
that he is away from the daily madness of a major metropolis. “If you plunk
yourself in a big capital city, the work will overtake you; it won’t be of your
choice. I don’t have any clients directly here in Antibes, and that’s how I want it.
I choose my assignments and my scheduling.”
Powers chose his career on a bus in Guatemala — yes, you read correctly.
“You’ll laugh when I say this, but I was on a bus in Guatemala. Yes, there were
chickens and goats on it as well. It was back in ’91. I was traveling with my
then-girlfriend. We were in Antigua, and each year they have the Semana Santa,
which are the Easter celebrations, and they have these big processions. On that
day, I photographed seven rolls of films. I was a passionate photographer then,
but I had no idea I wanted to make a career of it. I just loved that day.” He
chuckled boyishly as he reminisced of that day, which proved to be the genesis
of an amazing career.
To be published as a photographer is one thing, but to be in constant
demand and commissioned on assignments all over the world is another.
Powers’ eye has become an asset coveted by top publications around the
globe, and Powers’ currently has three books being launched — three! Living
Tropical Modern (Thames & Hudson), New Paris Style (Thames & Hudson), and
The Iconic Interior (Thames & Hudson/Abrams). The Iconic Interior (the sequel to
Powers’ The Iconic House), which he shot over the span of approximately two
years, features 100 of the most spectacular interiors across the world, spanning

62

the entire 20th century to the present day. It includes interiors assembled by
artists and fashion designers, architects, interior and set-designers, bringing
together diverse design talents from Piero Fornasetti and Coco Chanel to
Alvar Aalto, Marc Newson and Matthew Williamson. Representing every
style from minimalism, art nouveau and neo-traditional to Gesamtkunstwerk
creations that defy definition, these iconic interiors are elegant compositions
that endure as lasting creations.
In addition to shooting large iconic spaces, Powers also finds enjoyment
shooting small and personal spaces. New Paris Style, which was written and
produced by his wife, Danielle Miller, captures 27 properties across Paris’
grooviest on-the-edge arrondissements. The houses belong to stylish creatives
at the forefront of Parisian chic, including interior designers Pierre Yovanovitch
and Florence Baudoux, fashion designer Corrado de Biase, jewelry designer
Martha Bedoya, antiques dealer Florence Lopez, designers Ora-Ïto and Victoria
Wilmotte, illustrator Jean-Philippe Delhomme and singer Marc Lavoine. When
asked further about New Paris Style, you could hear passion and pride beam
through Powers’ voice. “It’s her book,” he said, “I was just the photographer.
She organized, she found all these places for the book. I just walked up to the
places and took the pictures. It’s a beautiful book, done by us. It’s very close to
us. It’s not the usual types of places I photograph — they’re very small and
personal. I love it, it’s a great book.”
Recently, I caught up with Powers’ in Antibes, where he took a little
break from a retouching session to chat about his own journey from riding in
Guatemalan buses with chickens and goats to picnics beside the Mediterranean.
You are based in Antibes. How did that happen?
Well, the digital age happened. Instead of being tethered to a lab as I was
before, I’m now tethered to a computer.
Wherever I go, it doesn’t matter now. I travel with a couple of hard drives.
It’s a mobile office. We live in Antibes, and my wife is a bit of a Francophile.
She loves French and is fluent, so it was the natural destination that when we
live in Europe, we should choose France — close to the sea, good weather.
And when you’re in the south of France, you need a good airport. Nice is a
great airport to fly in and out of, very user-friendly and gets me to most places
direct. If it’s not direct, it means it’s a long haul, and I don’t care if I have to
change planes.
I started my career in London then moved to Sydney. It was about seven
years in each. When the kids were like two and four, we took them on a roundthe-world trip for a year. I had a book to shoot in Sri Lanka, and I thought,
“Let’s just keep going.” The kids were young enough and didn’t have school.
On that trip we found ourselves renting a villa in the south of France. Then
I got a big job that meant we’d be staying here seven months. That was our
testing ground. At the end of it, I said to Danielle, “If you want to live in
France, we can do that quite happily.” I think she’d already packed her bags
by the time I finished speaking! When you’ve lived in Sydney seven years and
have done some heavy, long-haul work, it’s great to live in this kind of culture.
There are other reasons: With my career, I’ve always wanted to direct it
myself. If you plunk yourself in a big capital city, the work will overtake you; it
won’t be of your choice. I don’t have any clients directly here in Antibes, and
that’s how I want it. I choose my assignments and my scheduling.
Do you think living away from it all has helped your career?
Absolutely! I’m very independent. Whenever I photograph something, nine times

63

Adler / Doonan, New York

Marc Newson, UK

â&#x20AC;&#x153;On that day, I photographed seven
rolls of film. I was a passionate
photographer then, but I had no
idea I wanted to make a career of
it. I just loved that day.â&#x20AC;?

65

IMAGES FROM NEW PARIS STYLE

Piero Fornasetti, Milan

out of 10 I’m there because I want to photograph it. When your head is in
that space, you’ll get the best results.
Do you remember the moment you decided to make photography a career? Where were you?
What were you doing?
Yeah, you’ll laugh when I say this, but I was on a bus in Guatemala. Yes,
there were chickens and goats on it as well. It was back in ’91. I was traveling
with my then-girlfriend. We were in Antigua, and each year they have
the Semana Santa, which are the Easter celebrations, and they have these
big processions. On that day, I photographed seven rolls of films. I was a
passionate photographer then, but I had no idea I wanted to make a career
in it. I just loved that day. There was so much to shoot; it was a sensory
overload. On the bus on the way back, I had almost an epiphany, and I
turned to my girlfriend and said, “I know what I want to do with the rest of
my life!” She turned to me and said, “Oh, my ex-boyfriend wanted to be
a photographer. He was an assistant for ages and never made it.” She was
basically done at that point!
What is your definition of iconic?
I think as a photographer, you start out shooting everything, and then your
eye is lead to where your passion is. In the beginning, I traveled a lot to Third
World countries and did a lot of work for stock companies. I could see with the
way I was shooting I was either going to go down the photojournalistic line or
I’d do something more home based — pardon my pun. My first gig was with
a friend who was an interior home designer. Then you get from one magazine
to another, and sometimes your contacts move to better magazines and bring
you with them. It’s like any career.
What did you do before you became a photographer?
I had a bit of a mantra when I left college. I studied business there. I wasn’t
sure what I wanted to do, but I knew what I didn’t want to do. I don’t want to
waste any life. Basically, I just wanted to enjoy it while I had it.
Do you feel interior photographers receive less attention and/or credit for their work compared
to other photographers, such as fashion photographers? If so, why?
Yeah, I guess so. It’s the same as how architects and designers receive less
attention than fashion designers in the public domain. Fashion is always so
“new” all the time, so the media love to promote it. [You’ll also find more
characters] are [drawn] to fashion photography. A fashion photographer
would probably find the quiet aspects of nature boring. Also with the design,
it’s a slower-paced process that’s not glamorous at all.
Your most recent book, The Iconic Interior, was just released and is the sequel to The
Iconic House. What is the inspiration behind your Iconic series of books?
The Iconic Interior was out in September. It’s a follow-up to The Iconic House. It’s
a collaboration — as are most books — between the publisher, the writer and
the photographer. I worked very closely with [author] Dominic Bradley and
my commissioning editor at Thames & Hudson, and we’re very passionate
about documenting these influential houses from the last century. To me, I’m
playing catch-up. I was too young to photograph most of these great houses,
and to have that opportunity is incredible.
With Iconic Interior, I photographed 42 [interiors]. Sixty houses. It’s very
daunting starting on the first house of 60, especially since they’re in all corners
of the world. The shooting spanned about 18 months to two years — pretty
standard for a book. You’re not working on them full-time of course. But
when you put up a map and plunk down 60 pins, and the first house is in
Australia, it’s a lot of traveling.
The pioneering houses that are iconic in the sense of our book are the
ones that helped shape 20th century architecture. Some of the projects were
chosen because they defined an architect — Falling Water with Frank Lloyd
Wright, Kaufmann House with Neutra — some of them aren’t as famous

as others but no less defining within that career, groundbreaking work that
stands the test of time.
In general, my work is inspired by all the brave homeowners, architects
and designers who continue to push the boundaries of design in the home.
Without them, I would be lost ... and of course my family!”
The most difficult interior you have ever photographed?
That was a house in Marrakesh. I didn’t expect to shoot it on the day. I was
photographing another house, which is pretty crazy. It was the house of another
artist, Jean Francois Fourtou. Basically, we had gone to photograph his holiday
home in Marrakesh, and he took us to a field where there was an upside-down
house. It was the most difficult thing I’d ever shot because I was so disoriented!
Everything your head has known since being on the planet was discarded. I felt
nauseated and had to go outside and look at the horizon after each shot. And
not only is the house upside down but also at an angle!
Ever since I was small, long before I picked up a camera, I was taking
pictures with my eye, in my head. I still have memories of these “images” I took
in my head.
Do you have a camera close by at all times?
Most of the time I have some kind of camera with me — whether an iPhone or my
daughter’s point and shoot or a Nikon. I’m no camera snob. For me, it’s just a box.
You have mentioned before that you are self-taught. Photography is an art form. While the
technicalities of photography can be taught through formal education, do you feel the “art” of
photography can be taught or is an innate talent tangible only to those born with it?
I believe I was born with it, because throughout my childhood I was never really
exposed to the arts. When I first picked up a camera, it was like picking up a pen,
very natural. I’d been putting these “boxes” around everything, ever since I was
small, but I didn’t really understand what I was doing until I finally picked up a
camera. My first roll of film looked pretty good compared with my other friends'!
We can all drive cars; it doesn’t make us Formula 1 drivers. I can go from
a blackout studio using multiple flashes to working out in the field with natural
daylight and everything in between. It never really fazed me. Light travels in
straight lines — just by applying common sense, really, you can master these
kinds of techniques.
You started your career before the days of digital. What are your thoughts about shooting digital?
I went from one day shooting film to the next day shooting digital — it didn’t
faze me at all. I still use the same techniques, though I don’t use any filters now,
just Photoshop.
If there was no digital, and you could only shoot one last roll of film, what type of film would
you choose, and what would your last 36 frames capture?
The type of film would I choose ... I used to be a Fuji RDP — Provia, I think
it’s called now. I would take my last 36 frames of my family, because I couldn’t
think of anything better to use it on.
Who is your muse?
I don’t know, really. The obvious answer would be my wife and family. They’re
my inspiration, the reason why I get up in the morning. Without them, there’d
be nothing. The kids really inspire me with their imagination and their ideas we
discuss every night over dinner.
What’s next?
I’m working on more books — one now about modern mountain houses.
There’s a Brazil book I’m about to sign on and two or three others that are
in the talking-about stage — then just my general tour of the world, taking
pictures of beautiful houses. c

When the inventive and playful chef
Antonin Bonnet, whose culinary style
was shaped by his mentor Michel Bras,
set out to create a culinary experience
founded on quality, simplicity and beauty,
he turned to design visionnaire Jaime
Hayon to help complete his new
cuisine destination. Flexibility, excellence,
comfort, invention, simplicity â&#x20AC;&#x201D; from
the interior design to the plate, Le
Sergent Recruteur gives Paris
a new understanding of sophistication.
From the bar to a private room to the
dining room, which seats 30, where you
can enjoy irresistible comfort food, the
Sergent Recruteur promises to become
the new culinary heart of Paris.

72

The restaurant is comprised of three
areas. At the entrance, the bar, in a
welcoming spirit, invites you to dine with
an eclectic selection of drinks and dishes
from around the world. The passage
from the bar to the restaurant is a glass
honeycomb curtain. The dining room is
a place of sharing, where the chefs invite
guests to sample their creations. Finally,
the private dining room is hidden in the
basement: A table for ten, in the midst of
an exceptional setting, reveals a collection
of dishes from different meats, fowl and a
choice of fine wines and liqueurs.

75

76

Located in the heart of Paris — 41
Rue Saint-Louis en l’Ile / 75004 —
Hayon has respected the history of one
of the oldest restaurants in Paris. This
historic address was the first place where
Napoleon’s soldiers found themselves
conscripted to fight. It has become a
world famous feasting place known
today for transforming the dreamlike
ambience of medieval times to the 21st
century. The restaurant is a veritable
culinary bridge between the cuisines
of the Rive Droite and the Rive Gauche.
The furniture, the bar, the lights, an
Aubusson-style tapestry woven by the
Museum of Textiles in Amsterdam,
masks, vases — all are unique pieces
created by Jaime Hayon exclusively for
Le Sergent Recruteur. c

77

square

9

A Five-Star Debut In Belgrade
Story by Mirjana Milicevic
Photography by Matthieu Salvaing

The Hotelâ&#x20AC;&#x2122;s street facade respects Belgrade's
existing surrounding architecture with
its building height and color palette while
remaining simple and unpretentious. The
exterior materials of golden brown marble,
which cover the entire entrance area, and dark
colored-wood cladding in contrast with creamy
white walls, give one a hunch of whatâ&#x20AC;&#x2122;s happening
inside: refined design merging hand-in-hand with
refined materials, all composed with special
care to host a world traveler.

squar

re nine

A

fter building completion in February
2011, gaining prestigious awards in both
foreign and local venues, Square Nine
Hotel established itself as the best hotel
in Belgrade. A five-star boutique hotel
designed by Isay Weinfeld and located
in the core of the city center, it attracted
the public and attention from numerous
international publications. At ForbesLife
Magazine, Square Nine made the short
list of the best new hotels of 2011 and
Condé Nast Traveler included it on its own
hot list of the best new hotels of 2012.
Weinfeld’s recognizable, elegant style can be experienced throughout the
property. Masterful usage of high-class materials, especially wood and stone
(reminiscent of Weinfeld’s Fasano Hotel) are interpreted in a new and special
manner. “Born from the owner’s desire to be part of Belgrade’s renovation,
impressing a luxurious but more familiar character to the city,” Weinfeld says. The
Hotel’s street facade respects Belgrade’s existing surrounding architecture with its
building height and color palette while remaining simple and unpretentious. The
exterior material of golden brown marble, which covers the entire entrance area,
and dark-colored wood cladding in contrast with creamy white walls, give one a
hunch of what’s happening inside: refined design merging with refined materials,
all composed with special care to host a world traveler. And the mix of materials
found here combines numerous international ingredients: Cumaru wood and
rosewood for flooring and paneling shipped from Brazil, a Portuguese limestone in
bathrooms, hand woven Turkish rugs, vintage Scandinavian and North American
furnishings from mid-20th century and sepia vintage postcards of Belgrade on the
walls to remind you where you are.
The hotel encompasses nine levels, two of them underground, along with a
gym, spa, naturally-lit enclosed swimming pool and a garage. On the ground floor
is the lobby, the restaurant and a little lounge area between the two. Above, there
are five stories with 45 rooms ranging from 345 square feet to 505 square feet, and
double rooms to 970 square feet suites. The presidential suite is on the sixth floor
with its own roof terrace. Finally, a 50-person rooftop bar/restaurant awaits guests
with a terrific view of the city.
Rooms feature Brazilian Cumaru wood, linen wallpaper and spacious
limestone bathrooms with deep tubs and rain showers, and other accessories such as
comfortable Treca de Paris beds, select vintage furnishings, built-in workspaces, flatscreen TVs, complimentary Wi-Fi, cashmere throws, Nespresso machines, Hermes
toiletries, and electronically controlled lights, curtains and blinds.mThere is no
question Square Nine hits all boutique hotel assignments with a beautiful design. c

85

LING JIAN

Questions Human

NATURE
As China continues to expose
its culture to the world,
artists such as Ling Jian
undertake a pivotal role
in
providing
commentary
regarding
contemporary
Chinese culture through
their own intimate journey
of self-expression.

Written by Kevin Chan

T

races of cultural identity are often embedded in commonly
used objects. The ergonomics, materials, fabrication techniques,
or simply the imagery of an object, allude to certain cultural
idiosyncrasies. Although familiar objects such as vehicles, technology or
buildings embody significant societal values, there does not exist a more
powerful representation of a culture’s identity than art.
Shortly after the conclusion of Mao Zedong’s Cultural Revolution,
Ling Jian graduated from Tsinghua University Art College in 1982 and
moved to Europe to allay the stringent pedagogy of traditional Chinese
art. While living in Austria and Germany, he studied the works of storied
European artists and pursued different perspectives on creative expression.
These experiences enabled him to develop artwork inspired by introspection
— commonly regarded as taboo in traditional Chinese art. Through
developing paintings with a more personal motive, Ling Jian’s work has
adhered to intimate revelations that have provided insightful commentary
on contemporary Chinese culture.
Ling Jian’s current work reflects the conflicts between traditional and
contemporary cultural values by depicting figures — often women — with
politically charged undertones. During his formative years in the Cultural
Revolution, the portrayal of people — especially women — as sensual,
vulnerable figures was prohibited in an attempt to fortify the image of a
strong and capable Chinese society. However, throughout Ling Jian’s stay
in Europe and upon his return to Beijing, China’s willingness to import
and export cultural media has muddled the self-perception of the Chinese
people. With the influence of international media and its penchant for
promoting glamour, the amalgamation of traditional conservative values
and contemporary ideals of beauty have provoked a crisis of identity.

The introduction of international media has elicited a contradiction
between what is reality and what is fantasy. Ling Jian’s work illustrates
this notion through the realistic portrayal of idealized figures on painted
canvases, which have subtle hints of culturally provocative elements.
Although his artwork touches upon contemporary Chinese affairs, the
manner from which these topics are unraveled and designed are intimate
insights into his personal thoughts. In an interview with HOME, Ling
Jian described his relationship with art akin to “cleaning a mirror” — the
more labor put forth ensures a clearer vision of one’s self. Moreover, he
believes the creation of artwork is a liberating activity, where the most
important notion is not only moving the audience, but also stimulating
one’s own spirit by listening to his or her inner voice.
Ling Jian’s impression of contemporary art in China is that the
discipline is relatively young because its development was forged alongside
recent shifts in cultural values. Regardless of this notion, however, he
emphasizes that contemporary Chinese art is a revolutionary aperture
from which China’s cultural concerns can be acknowledged. With a bevy
of works in progress and some already completed, the future of Ling
Jian’s career is much anticipated.
What is your relationship with your work? How would you explain your relationship
with art?
The relationship between me and my work is my means of living. To me,
my work is a mirror of life: I constantly clean it. During these cleanings, I
can see myself more clearly. Art to me is the same as a hunter to his prey.
You cannot own it every day, but once you do, you may be cruel, but at the
same time elongating your life.

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“Sexy, vain, vulnerable women do not exist, or
[they are] not allowed to exist. But the reality of
today in a commercial society, all of which shows
in front of you, the ideal values and the practical
values have conflicted greatly, causing the vanity,
vulnerability and sexuality.”
The majority of your work focuses on young female figures that evoke a certain sense of
vanity, fragility and sexuality. Why do you choose to portray your subjects in this light?
Young women are a very ancient and eternal art topic. During my return
to the Chinese culture in recent years, great changes have taken place there.
I grew up during the Cultural Revolution period. Sexy, vain, vulnerable
women do not exist, or [they are] not allowed to exist. But the reality of
today in a commercial society, all of which shows in front of you, the ideal
values and the practical values have conflicted greatly, causing the vanity,
vulnerability and sexuality.
The creative process is often laborious and turbulent. Have you ever experienced failure
while painting? If so, how have you coped with it?
Creation is an independent behavior. In fact, it is a self-moving process. You
have to learn to listen to your heart, slowly cause its sublimation. Therefore,
failure is a part of creation. Only going beyond it will one be able to produce
more exciting work.

environment, for example, in a driving compartment or the corner of a bar.
Life and love are the biggest factors that drive my creation.
How do you feel contemporary Chinese art fits into the development of China’s art history?
Chinese art history is a revolutionary art history. It is chaotic and unstable.
I hope that we pay more attention to China’s past and present as an ancient
Chinese saying called “the mirage.”
How many new works have you completed in 2012?
A few. Some are still in the process of creation.
Do you have a muse that inspires you?
Yes, but it changes with time and mood, which are constantly changing.
What inspires me is not only my muse, but also my life. In other words, my
heart is my true muse. c
Ling Jian’s answers in Mandarin below:

With greater international acclaim, many artists embody a critical perspective that is
indicative of their culture. How do you represent Chinese culture through your work?
In fact, criticism and praise are like devil and angel: They have things
in common, consistent with cultures that have grown in the presence of
criticism and praise. How will I express Chinese culture through my work is
a great question. I am searching for the answer, and I will continue to paint
to find out.
The work of creative individuals often represents themselves. How did moving to Austria
and Germany influence or change the way you view art and painting?
Living in Europe for many years enabled me to have the chance to appreciate
the works of great masters, and I had a comprehensive understanding of the
relationship of an artist with his culture and time. The artist must withstand
the limitless challenges time gives to art.
Do you find that the majority of Chinese artists operate as singular entities? With whom
do you speak about art? Are you in contact with other Chinese artists?
Art is the best media. Chinese contemporary art is very young. In a specific
environment and time, they must coexist with each other, support each other
and mutually influence each other. Nature in aesthetic and representation
is similar. In such a social environment, individual ideology finds it very
difficult to exist independently. I and some of my contemporary friends,
whom I have known for more than 20 years, don’t talk about art when we
are together, and we do not give each other strong criticism. This is perhaps
because of the Confucian Harmony.
What is your fascination with portraiture? The expressions on your subjects’ faces are
noticeably subtle. Why do you choose to portray them this way?
The selection of portrait painting is because it is the most direct manifestation
of the human nature. In the face, you can see all of the emotions and the
background stories. During the course of my creation, I will slowly enter
people’s deep ends, comprehend them, inspire them, understand them
and then communicate with them. Every time this makes me question
the human nature. The face that inspires many thoughts takes me to an
indescribable world.
Where do you seek inspiration? What drives you to continue working on your paintings?
As far as I am concerned, inspiration mostly appears in a private

Within a former circus training
base, the private realm of Diane
von FĂźrstenburgâ&#x20AC;&#x2122;s star creative
has been revamped into a sleek
and elegant modern space.
Story by Danielle Miller Photography by Richard Powers

U

pon visiting the Parisian second home of New York-based
fashion designer Yvan Mispelaere, guests are left with the feeling
that they have slipped into an intriguing, exuberant parallel
universe. Inside the cavernous space, Mispelaere has paid the same
attention to proportion, color and detail that he brings to the slinky, sexy
shapes he creates for the runway shows and collections of international
fashion legend Diane von Fürstenburg.
The apartment, rising above a gated mews passageway, was
discovered as a rustic loft inside a former stable block built in the late
19th century and later revived — briefly — as a circus-training base. It
has now been reinvigorated in collaboration with Mispelaere’s friend,
architect Stéphane Ghestem, who initially sourced the space, and who
Mispelaere, despite admitting to being “very demanding,” entrusted with
the structural plan and detailing in his absence. For guidance, Mispelaere
put together a book of tear sheets, featuring inspirations that ranged
from the colors and textures of a sunken Moroccan sitting room to the
architecture of ancient Greece and the works of Le Corbusier. “All of
these are reflected some way in the scheme,” Mispelaere says. “I wanted
it to be chic and modern, with a more unconventional context and
touches of the surreal.”

94

95

“I wanted it to be
chic and modern,
with a more
unconventional
context and
touches of the
surreal.”

A cubic pod, faceted like diamond cushions in matte black, contains
the kitchen and is set within an otherwise open-plan living area, bar,
guest room and bathroom, which are partitioned off beyond the staircase.
The angular design of the pod provides a striking contrast to the rest
of the room with its cloud-white color scheme. Resting against it is an
unusual bench, fashioned from a gargantuan tree root discovered in Bali.
In the sunken living space, Ali Baba meets Boogie Nights in a high-glamour
setting of sofas in burnished gold, by Italian design company Zanotta,
and flowing fabric in shades of celadon and white. Anatomical sculptures,
family heirlooms and jewel-colored opaline vases collected on travels
are meticulously arranged on podiums or under glass domes. Above, a
striking pair of chandeliers from the 1970s customized by Mispelaere
with brass, evokes those that hang in the Blue Mosque in Istanbul.
With plenty of room to entertain, Mispelaere likes to have friends
and family over, and makes the most of the vintage Italian walnut dining
table, which has been revamped with the addition of a white crown.
Scattered about the apartment are brass objects that Mispelaere had
made in Bali, including the ceiling lamps that shine down upon a trompe
l’oeil cupboard, which opens up to a bar at one end of the dining area.
Above are the master bedroom, a spacious dressing room and bathroom,
the design of which is a nod to French artist Jean-Pierre Raynaud and
features Mispelaere’s self-designed winking tiles, underlining his sense of
fun. Mispelaere designed the wooden floor to resemble mosaic and is
also responsible for the bedcover in geometric leather. The matching wall
lights above it were sourced from L’Isle-sur-la-Sorgue antiques shops and
flea markets in the south of France. “I like a modern space,” Mispelaere
says, “but not necessarily the generic materials that go with it. I prefer
finishes to be crafty, warm, textured.”
The thriving scene around the Canal Saint-Martin, an area
Mispelaere loves for its “authentic spirit,” is only minutes away, yet his
home is a nucleus of calm that acts as an antidote to his hectic schedule,
not least, Mispelaere says, “because it regenerates and inspires me.” c

101

Tea h

swatt miers creates A Special

ouses
Photography by Tim Griffith

Blend for California's Silicon Valley

T

he idea for the tea houses originated years ago, when the owner and
his young daughter explored the remote hills surrounding their Silicon
Valley home, discovering an idyllic setting below a ridge, under a grove
of large California Live Oak trees. At first, the family thought the setting would be
perfect for a tree house. Years later, after the 6,000-square-foot main house was
extensively remodeled, the vision was realized by architectural firm Swatt Miers
as three individual tea houses, places where one could simply retreat into nature.
Each tea house is designed as a transparent steel-and-glass pavilion,
hovering like a lantern over the natural landscape. Cast-in-place concrete
core elements anchor the pavilions, supporting steel channel rim joists, which
cantilever beyond the cores to support the floor and roof planes. With its
minimal footprint, the design treads lightly on the land, minimizing grading
and preserving the delicate root systems of the native oaks.
The three tea houses vary in size, each with its own unique purpose.
The 270-square-foot “meditation” tea house, nestled under the canopy of the
largest oak tree, is a place for individual contemplation. The slightly larger
“sleeping” tea house, approximately 372 square feet, is a place designed
for overnight stays. This structure is joined by a sky-lit bathroom core,
which bridges to the largest tea house. At 492 square feet, the “visioning”
tea house is for intimate gatherings and creative thinking. The notion of
“quiet simplicity” is a consistent theme throughout — there are no phones,
televisions or audio systems within these structures.
The design emphasizes sustainability. Steel-framed doors and awning
windows provide access and high/low ventilation, while custom-modified
aluminum framed sliding doors, with custom steel interlockers and fixed
glass panels mitered at the corners, dissolve the barrier between inside and
outside. Natural cooling is enhanced by shading from strategically placed
landscaping, including evergreen redwood trees and bamboo, and deciduous
maple and gingko trees. Heating is provided by a radiant hydronic system
below the flooring. Electricity is produced on-site by a photovoltaic array
mounted on the roof of the main house.
The interiors are executed with a simple palette of contrasting materials
— crisply detailed steel and glass, and more “organic” unfinished concrete,
board formed and wire brushed to expose the wood grain, and cedar boards
recycled from the remodeling of the main house.
As the sunlight and shadows move across the hillside, the tea houses
take on different forms — at sunrise the structures disappear into the long
shadows; the soft silhouette of the midday sun casts dramatic reflections
off the glass; and by evening, the structures glow like lanterns in a garden.
Viewed from afar or viewed from within, the tea houses appear at one with
their sites, inextricably connected to the native California landscape.

104

As the sunlight and shadows move
across the hillside, the tea houses
take on different forms â&#x20AC;&#x201D; at sunrise
the structures disappear into the
long shadows; the soft silhouette
of the midday sun casts dramatic
reflections off the glass; and by
evening, the structures glow like
lanterns in the garden c